Time:10:30am–6:30pm (Last admission at 6:30pm)
Location:chi K11 art space, 4/F, K11 Art Mall, 2A No. 1 Expo Road, Heping District, Shenyang
Artists:Northern Road Art Union, Northern Art Group, Dokuyama Bontaro, Geng Yini, Hai Bo, He Xiangyu, Hu Qingtai, Hu Xiaoyuan, Jin Dongxuan (Icebreaking Society) , Li Dafang, Liu Chuanhong & Na Yingyu, Liu Lihong, Liu Renjie, Liu Xiaodong, Lu Chunsheng, Park Chan-kyong, Qin Qi, Shi Qing, Theatre 44, Song Yuanyuan, Sun Yuan & Peng Yu, Sun Xun, Wang Bing, Wang Tuo, Wang Xingwei, Wang Zeyin, Yang Yuanyuan, Art Education Group, Zhang Enli, Zhang Hui, Zhao Liang, Zhuo Kailuo & Han Tao, Violet Oil Painting Research Association
Curator:Lu Mingjun
City Projects Curator:Zhang Hanlu

In China’s history, Northeast China has played a crucial role in regional politics, sometimes extending its influence beyond Northeast Asia to greater East Asia and the entire continent, and is closely tied to the balance and stability of the global geopolitical structure. In the contemporary art system today, the northeast is widely acknowledged for establishing a range of highly distinctive and notably controversial styles of painting and regional practices.

Assembling is composed of two parts: an exhibition in K11’s main exhibition hall and a city projects programme. The main exhibition is divided into five sections: ‘No Matter How Busy He Is, Brother-in-Law Won’t Forget You…’, ‘Former Lovers Have All Grown Old’, ‘Not Sure How Long You’ve Been Away, or Where You’re Going’, ‘If Seeing Is Not an Option’ and ‘Some Actions, Which Haven’t Been Defined yet in the Revolution’, named after the works by five participating artists. Each of the five sections subtly evokes a distinctive set of emotions and voices. As these emotions and voices are channeled and made to clash, an exhibition framework is established. The result is an assembly site that connects and interweaves a diverse range of discourses, spanning regional culture, personal narratives, social change, geopolitics, and self-organisation.

This provisional assembly is not our goal, nor is it the end. Assembling is a way of continuous mobilisation with its own logic. Philosophers Michael Hardt and Antonio Negri’s theory provides helpful footnotes to our conceptualisation; we can perhaps see this assembly as a mode of ‘biopolitical production’. The fruits of ‘biopolitical production’ are immaterial products (including artworks), such as signs, images, information, and knowledge; only through these products (or artworks) can we grasp the subjectivity of their makers (or artists) and their forms of life. While marking a new beginning, this exhibition also makes an essential statement. We hope that this kind of provisional assembly and local experimentation will become the new normal in the future. No longer immured, these local movements will transform into a regional cultural practice with a global impact.